


Arrow Spec Script 04x01

by lostolicityscenes



Category: Arrow (TV 2012)
Genre: F/M
Language: English
Status: Completed
Published: 2015-07-07
Updated: 2015-07-07
Packaged: 2018-04-08 05:44:49
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 5
Words: 8,270
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/4292955
Author URL: https://archiveofourown.org/users/lostolicityscenes/pseuds/lostolicityscenes
Summary: <blockquote class="userstuff">
              <p>When Diggle goes missing, Lyla calls on Oliver and Felicity to come out of retirement and return to Starling City to help find him.  But, once Oliver is reminded how it feels to be a hero, can he walk away again?</p><p>Reader note:  I write in a screenplay style - if you want to see it "correctly" i also post on tumblr under this name.  This is a speculative script for Season 4, episode 1 of Arrow.</p>
            </blockquote>





	1. Teaser/Act One

EXT. STARLING CITY - NIGHT, CONTINUOUS

We slam into the story, right in the middle of a hot pursuit.   
A pair of legs running down a city street. Pull back to  
reveal two masked men, with a shadowy figure giving chase.   
Inside one of the masked men's POV, he races down the street,  
spurred on by the relentless figure behind him. They turn  
and run, down alleys, up and over fences, but the figure  
doggedly pursues them.

EXT. STARLING CITY - A QUIET CITY STREET

Then, city lights reflected in a still puddle, when suddenly  
a foot splashes down into the water, and we see the two men  
running towards the harbor, tall container ships docked in  
the distance. But where's their pursuer?

EXT. STARLING CITY - A BUSTLING STREET

Horns sound as a Starling City PD cruiser careens into view,  
sirens blaring.

OFFICER  
Two suspects, armed and dangerous,  
on foot heading South on Waterfront  
towards Starling City Harbor, we  
are in pursuit.

DISPATCH (O.S.)  
All units, car 52 requesting back  
up at Waterfront Road, two  
suspects...

The cop car wildly maneuvers through traffic, cars brake and  
horns blare as it speeds past. A Black Ducati momentarily  
pulls up beside the cruiser, a figure in red leather astride,  
the officers and the masked figure exchange a brief glance  
before the rider revs the engine and (wait for it) "speeds"  
off in front of it.

OFFICER  
Looks like the other back up is  
here.

We stay on SPEEDY.

LYLA (O.S.)  
They're at Lexington and  
Waterfront.

SPEEDY  
On it.

Speedy, careens down the road, zigzagging around cars before  
braking hard and turning down Lexington. She spots the two  
men, running down an alley. She abandons the bike, continues  
after them on foot.

EXT. STARLING CITY - ALLEY

The two masked men skid to a stop, a dead end. They turn  
just in time to face off against Speedy.

She's a whirling dervish, balletic and graceful as she fights  
the two men. They punch, she twirls, ducking and weaving,  
easily handling them both. Her training excellent, the only  
good thing she got from her father. She lets an arrow fly,  
THWICKT, catching one of the men in the shoulder.

He falls down to the ground, with a shout of pain. But, the  
other has pulled a gun, and it's trained right on her.

A tense moment. 

CLOSE UP on his trigger finger as it twitches, he's just  
itching to pull it.

CLOSE UP as Thea's eyes narrow. What will she do? We can  
almost see her weighing the odds.

Then, BANG! BANG! Two gunshots ring out, the man falls to  
the ground clutching his knee, the gun spinning across the  
ground. She looks up, towards a fire escape and we see the  
shadowy figure revealed, JOHN DIGGLE, dressed in black  
tactical gear, a simple mask covers his eyes.

THEA (GRINNING)  
Thanks.  
(beat)  
Nice mask.

DIGGLE (HOLSTERING HIS GUNS)  
You're lucky I didn't shoot you, I  
can't see a damn thing.

Arrow Opening Credits


	2. Act Two

EXT. COAST CITY, HARBOR - DAY

5 Years Ago...

A large container ship docked, the same one we saw Oliver  
Queen standing in front of in Hong Kong. Several rough  
looking sailors, walk down the gangplank, carrying large  
duffels. One of the men, is OLIVER QUEEN.

As he reaches the bottom, he shakes hands with one of the  
men. 

SAILOR  
So, Tommy, you going to catch  
another boat? 

OLIVER  
No...I thought I'd stick around  
town for a little bit.

SAILOR  
Oh, you got family here?

OLIVER  
No. I don't know a single person  
in Coast City.

SAILOR (CONFUSED)  
So, then, what are you gonna do?

OLIVER  
First, have a beer...

Oliver looks into the distance, from his POV, we see a wharf  
in an obvious state of decline. The Coast City harbor has  
seen better days. Half the buildings are empty, boarded up,  
the wood weathered and worn, scrawls of grafitti cover the  
sides of the building, the uncovered parts colored with faded  
peeling paint. At the far end, stands a bar, open for  
business, judging by the neon lit sign above proclaiming  
"Paddy's" though half the lights are out and the sign hangs  
askew. 

OLIVER (CONT'D)  
Then, find a job, I guess.   
Although I'm not really sure what  
I'm qualified to do.

The sailor laughs, they shake hands.

SAILOR  
Good luck with that.

OLIVER  
Thanks.

The sailor heads off, while Oliver takes a beat, looks  
around. 

Oliver, shoulders his duffel, and walks toward the bar.

 

INT. FOUNDRY - CONTINUOUS

Present Day...

We're back in the makeshift Foundry, or what's left of it,  
since the cops came through. It is stripped down, almost to  
season 1 levels. Diggle enters, mask off, followed closely  
behind by Thea, as they rack their weapons, LYLA MICHAELS  
stands up from the bank of computer monitors, walks over to  
Diggle, he pauses to give her a kiss.

DIGGLE  
Two bank robbers on their way to  
Iron Heights as we speak.

LYLA  
You two are getting pretty good at  
this hero stuff. And you even  
managed not to shoot Thea.

DIGGLE (TOSSING THE MASK ON THE TABLE)  
I really hate this thing.

LYLA  
Sorry, Johnny. The mask is non  
negotiable.

Diggle pauses, pulls her into a hug, gives her a quick kiss.

DIGGLE  
Yes, Ma'am.

They turn towards Thea, whose been watching them  
affectionately.

LYLA  
You hungry, Thea? We're probably  
going to grab some dim sum. You're  
welcome to join us.

THEA  
No thanks. All I want is a hot  
soak, a big glass of wine, and my  
bed.  
(heads out)  
Good night.

DIGGLE  
Night.  
(To Lyla)  
Maybe we can skip the dim sum too,  
all I want to do is go home and  
look at my daughter.

Lyla walks over to the computers, fingers a piece of paper,  
looks troubled.

DIGGLE (CONT'D)  
Lyla? Are you okay?

LYLA  
Yeah.   
(beat)  
John, you asked me a while back if  
I could use my ARGUS contacts to  
find out about your brother's last  
assignment...

DIGGLE  
And did you find something? You  
said you hit a bunch of dead ends.

LYLA  
I did. I pulled in every last  
favor I had, since I left,  
and...well, one of my contacts  
finally came through.

Lyla hands him the paper but doesn't wait for him to read it.

LYLA (CONT'D)  
Andy was tasked as a bodyguard for  
Senator Stevens and the man who  
hired him went by the name of  
Greyson.   
(beat)  
This is his last known address.

John stares at the paper - intense emotion.

LYLA (CONT'D)  
You know, I almost didn't show this  
to you, I've been holding onto this  
information for a week now.

DIGGLE  
What? Why? You know how important  
this is to me...

LYLA  
Ever since Russia, you have been  
obsessed with finding out more  
information on H.I.V.E. And I get  
it. But, according to my friend at  
ARGUS, these are dangerous people  
and they will not hesitate to hurt  
you or the people you love to keep  
their secrets.

DIGGLE  
This is the first solid lead we've  
had in months. I need to find out  
the truth, Lyla. You of all people  
should understand that. I owe that  
to him, and to Carly and the boys.

Lyla nods. She doesn't like it, but the soldier in her  
understands it.

 

INT. DIGGLE AND LYLA'S APARTMENT - CONTINUOUS

Diggle is in the bedroom, packing. Lyla enters holding Sara,  
watches him for a moment. 

LYLA  
You're almost done.

DIGGLE  
Yes. 

LYLA  
I'm coming with you.

Diggle stops, shocked.

DIGGLE  
No.

LYLA  
Look, you have no idea what you're  
walking into when you get there. I  
would feel a lot better if you had  
some back up.

DIGGLE  
I'll be fine. I'll be careful.

LYLA  
Johnny, I don't have a good feeling  
about this.

She leaves the room, walks over to Sara's room and puts Sara  
down in her crib. Diggle has followed her. They quietly  
leave the room and head back to their bedroom.

LYLA (CONT'D)  
Thea and Laurel are more than  
capable of handling things here.

DIGGLE  
That's not in question. We agreed  
when that Suicide Squad mission  
went sideways that one of us would  
always stay with Sara.

LYLA  
I know. But--

DIGGLE  
All I'm doing is fact-finding,  
strictly recon.

LYLA  
At least let me call Felicity--

DIGGLE  
No. I don't need his help.

Silence. A standoff.

DIGGLE (SOFTENING) (CONT'D)  
The only way I can do this is if I  
know that the two women I love the  
most in the world are safe. I  
don't want Sara to grow up without  
both her parents.

Neither of them want to think about that.

DIGGLE (CONT'D)  
I'll wear the tracker, just in case  
things go wrong.

LYLA  
That's a start. And you'll check  
in?

DIGGLE  
Like clockwork.

LYLA  
I'm going to hold you to that. And  
if you don't?

DIGGLE  
Permission to call in the cavalry.

LYLA  
You have a little girl counting on  
you, so you be careful, Johnny.

DIGGLE  
Yes, ma'am.

 

EXT. BIALYA - STREET, DAY

A bustling street scene, vendors ply their goods, on a hot  
arid day. Diggle sits, wearing sunglasses, at an outdoor  
cafe. He looks casual, a tourist reading the paper and  
drinking coffee. But, his eyes are on a nondescript building  
across from him. The building is old, stately, but small  
things set it apart. The six foot high iron gate that  
encircles it, the cameras facing the street, the man, who  
stands guard at the door, only a trained eye can discern the  
gun under his jacket, the bars on the windows whose shades  
have been drawn. Diggle notes two men, who casually lounge  
against a car, talking, but never moving to leave.

An older man, sun-weathered, wearing a crumpled linen suit,  
sleeves rolled to the elbow sits down at his table. Signals  
to the waiter for a coffee.

MAN  
You finally visit my country, John  
Diggle and you're all business.

DIGGLE  
Gomez. It's been a long time.

GOMEZ  
A number of years, since we fought  
together. Does Lyla know we are  
meeting?

Diggle makes no reply. The waiter approaches and puts down  
an espresso cup.

GOMEZ (CONT'D)  
That's probably for the best, I'm  
not her favorite person. But,  
frankly I would have thought she  
would have put you in touch with  
one of her ARGUS agents.

DIGGLE  
She's not the only one with  
contacts here.

GOMEZ (SARDONIC)  
Is that all I am to you?

DIGGLE (IGNORING HIM)  
What can you tell me?

GOMEZ  
All business. There is not much to  
say. It is an office building.   
Owned by holding company, owned by  
subsidiary of a subsidiary. But,  
in some circles, it is known as a  
place where people go in and never  
come out.

DIGGLE  
What kind of people?

Gomez shrugs.

GOMEZ  
I can't give you all the answers,  
can I?

Off Diggle.

GOMEZ (CONT'D)  
3rd floor, there's a records room,  
old school, filing cabinets with  
actual paper inside. Maybe you'll  
find a file with your brother's  
name on it.

DIGGLE  
Maybe?

Gomez shrugs again.

GOMEZ (SMILING)  
Maybe not.

He stands and downs the espresso in one gulp. Sobering.

GOMEZ (CONT'D)  
Maybe you should go home to your  
wife and daughter instead of  
chasing ghosts halfway across the  
world.

Diggle is unmoved. The sardonic smile returns.

GOMEZ (CONT'D)  
But what do I know.  
(gesturing towards the  
cup)  
You'll get that, right?

Diggle scoffs in amusement. They exchange a nod, and Diggle  
watches as Gomez saunters off, quickly swallowed up in the  
crowds.

The street scene speeds up, as we watch the traffic come and  
go, the people walking by, the sun starts to set, the traffic  
lessens, until it's finally night. The darkness only lifted  
by the small glow from the street lamps. The street is  
deserted now, the shops closed. Diggle stands in the shadows  
of an entryway, still watching. The guard is now gone as are  
the two men and the car. The building is dark, no lights  
inside and out. All is quiet.

Diggle pulls a balaclava over his head and quietly makes his  
way across the street. He goes around to the back of the  
building and jimmies open a door, entering the dark hallway  
inside. He quickly disarms the alarm system.

It looks like a typical office inside, desks in the center of  
the room, ringed by doors to offices. Diggle, flashlight in  
hand makes his way up stairs, to the third level. He finds  
the record room and starts to open drawers, filing cabinets,  
looking through the files. He finds a folder, "Andy Diggle"  
written at the top, he opens it. It's empty only one small  
plastic bag inside, holding a thumb drive. Diggle pulls it  
out of the bag, holds it in his hand as he returns the file  
into the cabinet. Quietly, he makes his way back to the  
stairway.

But as he rounds a corner, WHAM, he is blindsided and he  
slumps to the ground, he watches as the thumb drive skitters  
across the floor and into a dark corner of the room. A pair  
of combat boots come into view and then everything fades to  
black.

 

INT. FOUNDRY - NIGHT

As Lyla enters, worried...

LYLA  
Has John checked in?

THEA  
Nope. Not yet. Why?

Lyla sits down and starts typing on the computer.

HER POV, we see a map, a flashing light, Diggle's tracker.   
Thea moves behind her, looks over her shoulder at the monitor  
too.

THEA (CONT'D)  
Everything's okay right?

LYLA  
I don't know. I'm not sure. John  
was supposed to check in with me an  
hour ago and he hasn't.

THEA  
Maybe he just got delayed, I'm sure  
he's fine. 

LYLA  
Yeah, you're probably right. But,  
it's not like him to miss the  
rendezvous, he'd know that I'd  
worry.

THEA  
His tracker is working.

LYLA  
Yeah, it is.

Thea's cell phone rings and she moves to answer it, moving  
off out of earshot. Lyla picks up her own cell phone and  
dials.

LYLA (CONT'D)  
Johnny, I thought we had a deal.   
Please, call me as soon as you get  
this.

She hangs up, just as we hear Thea...

THEA  
Okay have a safe trip.

LYLA  
Who was that?

THEA  
Laurel, she should be back  
tomorrow. 

Off Thea, noticing Lyla's distress and seeking to distract  
her.

THEA  
That's her fifth trip to visit  
Nyssa in so many months.  
(shaking her head)  
After everything that happened last  
year, Nanda Parbat is the last  
place I'd want to revisit.

Lyla relaxes a little, the distraction seems to be working.

LYLA  
Speaking of...how's Oliver?

THEA  
The last time I talked to them,  
they were going snorkeling.

Lyla laughs.

LYLA  
I really have a hard time imagining  
that.

THEA  
That makes two of us.  
(beat)  
He's good. He sounds happy.

LYLA  
You must be missing him though.

THEA  
I am, but at least this time he's  
been keeping in touch.

Lyla sobers, looks worried again.

LYLA  
I'm going to try the hotel.

She places another phone call. Thea starts typing.

THEA (STILL LOOKING AT THE MONITORS)  
Did you try pinging his cell phone?

But Lyla has frozen. A sinking feeling of dread.

THEA (OFF LYLA'S REACTION) (CONT'D)  
What?

LYLA  
The hotel said John checked out of  
his room two hours ago.

THEA  
Why would he do that?

LYLA  
He wouldn't, not without telling  
me...

Lyla walks back to the monitors - hyper focused, all business  
now.

LYLA (CONT'D)  
His tracker still says that he's IN  
his room.

THEA  
Maybe he forgot the tracker, maybe  
he's on his way home?

She's grasping at straws.

LYLA  
I have a bad feeling, Thea,  
(long beat)  
something's wrong.

THEA  
What are you going to do?

LYLA  
I'm going to call in the cavalry.


	3. Act Three

INT. HOTEL ROOM, COAST CITY - MORNING

OLIVER QUEEN sits on a balcony, overlooking a beautiful  
beach. Or at least we think it's Oliver Queen, because this  
guy is relaxed, and happy and looking at a tablet with a map  
on it. A hand appears, strokes the back of his head, he  
looks up to see Felicity standing next to him, in her  
pajamas.

FELICITY (KISSING HIM)  
I woke up and you were gone.

OLIVER  
I didn't want to disturb you.

He pulls her around and she sits on his lap. Gives her  
another kiss.

OLIVER (CONT'D)  
Morning. I ordered room service.

Waves towards the table.

FELICITY (NOTICING THE TABLET)  
What's this?

OLIVER  
Planning our next stop.

FELICITY (BITING HER TONGUE)  
I see.

She stands up, moves to the other side of the table, and sits  
down, pouring coffee. Oliver, noticing.

OLIVER  
What?

FELICITY  
I didn't say anything.

OLIVER  
I know that look, Felicity.

FELICITY  
It's just I thought, I don't know,  
maybe we'd head back to Starling  
City.

Off Oliver's reaction.

FELICITY (CONT'D)  
You haven't seen Thea in five  
months--

OLIVER  
I talk to her everyday.

FELICITY  
\--and you haven't spoken to Diggle  
at all...

OLIVER  
I'm the last person he wants to  
hear from.

She's not buying it. Part teasing, part serious...

OLIVER (CONT'D)  
Are you getting sick of me already?

FELICITY (SINCERELY)  
No...the last five months have been  
the best of my life.

OLIVER (SMILING)  
Mine too...

FELICITY  
But, we can't do this forever.   
Eventually, reality has to set  
in...

OLIVER (SCOFFS)  
Why? 

FELICITY  
For one, you're broke and I'm  
unemployed. Even by your  
standards, the money is going to  
run out at some point. You retired  
from being the Arrow and you said  
you want to figure out who you  
are...I mean if you're not saving  
the city, then what do you want to  
do with the rest of your life?

OLIVER  
I'm doing it, Felicity.  
(beat, quietly)  
What's with the career counseling?

FELICITY (GENTLY SERVING SOME TRUTH)  
It's just...I want to make sure  
we're still on an adventure and not  
running away.

OLIVER (STUNG, BUT NOT ANGRY)  
I'm not ready to go back yet.

The silence weighted with the unasked, Is that okay, will you  
stay...Felicity gives Oliver a long measured look and then...

FELICITY  
Well, then I better start packing  
if we want to get to our next stop  
before lunch.

Off Oliver's relief. They both stand and he puts his arms  
around her.

OLIVER (HEARTFELT)  
Thank you.  
(turns playful)  
Did you know I read that the  
showers in this hotel are so big,  
two people could fit inside one?

FELICITY (TEASING)  
Is that right? Do tell.

They kiss.

The phone buzzes, we see Thea's face on the screen. Oliver  
listens while Felicity extricates herself from his unwilling  
arms. 

OLIVER  
Whoa, slow down, Speedy, what's  
wrong?

We see Felicity's smile fade and she looks at him  
apprehensively as he talks.

OLIVER (CONT'D)  
Of course, we'll leave right away.   
We should be in Starling in a few  
hours. 

FELICITY  
What is it? Is Thea okay?

OLIVER (WORRIED)  
Thea's fine...It's Digg.

 

FLASHBACK - INT PADDY'S BAR, COAST CITY

Oliver enters the bar, it's as rundown as the exterior.   
Faded, old pictures hang from the walls. A couple of men,  
sit at the counter, regulars from the looks of them. A  
couple of shady-looking men sit at a table talking quietly.   
Oliver is eyed the minute he walks in. He notes it, well  
aware of his surroundings. He sits at the bar, the barkeep  
walks up an older, faded woman.

BARKEEP  
What'll it be?

OLIVER  
Beer.

He sits quietly, head ducked trying not to draw unwanted  
attention. A man walks in, young and good looking greets the  
barkeep.

YOUNG MAN (TO OUR BARKEEP)  
Hey Tina! My order ready?

She hands him a couple of grease-stained bags.

TINA  
2 Cheeseburgers, 2 fries. You  
coming tonight?

MAN  
We'll see, I might have to work  
late, boss is a real hard-ass.

TINA (LAUGHS)  
That's why I don't have a boss.

Two large men walk into the bar. They look like bad news.   
The tension in the bar ratchets up and Oliver takes notice of  
the change.

1ST MAN (LOOKS AROUND, SARCASTIC)  
Afternoon, Tina. Business booming  
as usual I see.

TINA (UNFRIENDLY)  
What can I get you?

1ST MAN  
We're just here to find out if  
you've changed your mind.

TINA  
I told you I'm not interested in  
selling.

1ST MAN  
You're not gonna get a more  
generous offer than Mr. Brooks'.

TINA  
I'm not shaking you down for more  
money, this bar's been in my family  
for three generations and  
I.AIN'T.SELLING.

1ST MAN (ADDRESSING THE SECOND MAN)  
Would you look at that?  
(gesturing at the wall)  
That old wood, goes up like that  
(snaps his finger)  
One spark is all it takes and this  
place is nothing but ash.

TINA (ANGRY)  
Why don't you two get the hell out  
of my bar.

YOUNG MAN  
You heard the lady.

1ST MAN (MENACING)  
Mind your own business. No one's  
talking to you.

YOUNG MAN  
Why don't you make me and stop  
trying to intimidate my friend  
here.

Oliver sits and watches the conversation. Kicking himself  
that he's in the middle of some sort of existing  
confrontation, not wanting to get involved, but also, not  
willing to stand by while someone is getting bullied and do  
nothing.

1ST MAN (LOW MENACING)  
You don't want to start a fight  
with me, son, cuz I'll finish it.

YOUNG MAN  
Just leave and we won't have a  
problem. Or do I need to call the  
police?

The 1st Man smiles, raises his hand in mock surrender.

1ST MAN  
Okay tough guy we'll go. But,  
(to Tina)  
we're not done...talking. 

YOUNG MAN  
Yeah, I think you are actually. I  
think I better not see you in here  
bothering my friend again.

The 1st Man's mock smile fades and he nods to the other man.   
The 2nd man, swipes his hands over a tray of glasses and  
sends them crashing to the ground. Everyone starts and is  
now watching. 

A tense moment and then all hell breaks loose. 

The 1st man throws a punch at the young man, who blocks it  
and gets one in. But, now it's two on one as the 2nd man  
joins in. For a moment, the young man holds his own until  
he's thrown across a table and comes crashing to the ground.   
The 1st man picks him up and slams him back onto the bar,  
right next to Oliver. 

Briefly, the young man and Oliver make eye contact, before  
he's picked up and thrown across the room. 

Oliver looks up at the ceiling, you can almost hear him  
telling himself, stay out of it, don't get involved. 

But then, he sighs, because he can't just watch this guy get  
his ass kicked. Oliver stands and joins the fight and very  
quickly subdues both guys. The bar is in complete disarray,  
Tina helps the young man up.

YOUNG MAN (RUBBING HIS JAW) (CONT'D)  
Hey man, thanks--

But, as he turns, Oliver's gone, the door to the bar already  
swinging shut behind him.

 

INT FOUNDRY - DAY

FELICITY (INCREDULOUS)  
I don't understand, how have you  
been able to work with this setup.

Oliver, Felicity and Lyla stand in the defunct Foundry.   
Felicity sadly looking at her stripped setup. Oliver uneasy,  
looking at the empty glass case. Lyla opens her mouth to  
answer, but before she can...

THEA  
Ollie!

Thea and Oliver hug.

OLIVER  
Hey, Speedy  
(beat)  
It's good to be home.

THEA  
Looks like retirement  
(turns to Felicity)  
And Felicity agree with you.

LYLA (STILL ON POINT)  
We've had some help.

FELICITY  
Who? Do they know?

Looking back and forth at Lyla and Oliver and Thea.

LYLA  
They know they're helping the Black  
Canary, that's it.  
(addressing Oliver)  
Thanks for coming. I'm sorry - I  
know you're retired...

FELICITY (INTERRUPTS)  
It's John.

OLIVER (QUIETLY)  
He's family.

Off Lyla's reaction.

OLIVER (CONT'D)  
What happened?

LYLA  
When you guys came to get me out of  
that prison in Russia, Floyd Lawton  
told John that there was more to  
his brother's death. And that the  
people who sent him, worked an  
organization called H.I.V.E. 

Off Oliver's reaction.

LYLA (CONT'D)  
He's been trying to find out about  
them, who they are, what they  
wanted with Andy. I've been  
helping him. 

OLIVER (DISAPPOINTED)  
He never mentioned it.

LYLA  
You were a little distracted last  
year. Anyway, there wasn't much to  
tell. Until a few weeks ago. An  
old Argus buddy, told me about a  
black site, operating out of  
Bialya. John was supposed to go,  
check it out, not engage.

OLIVER  
You let him go alone?!

LYLA  
It was supposed to be recon only.   
And he was supposed to check in  
regularly, but last night, he  
missed the window. It's not like  
him. I can't get him on his cell.

OLIVER  
He could be anywhere, I mean. We  
have no idea.

LYLA  
Actually we do. I called in my  
very last favor with Waller, and we  
think he's being held here.

Lyla pulls up a satellite image of a building. It's the  
building Diggle was watching. 

OLIVER  
So, you think he's in there.

LYLA  
I hope. But, we can't just walk  
in. It's heavily guarded, alarmed,  
I have no idea what's inside. And  
they've beefed up security in the  
last week. Thermal imaging shows  
at least thirty men.

OLIVER  
Felicity.

FELICITY  
I'm already pulling up the building  
schematics.

OLIVER (TO LYLA)  
Don't worry. We'll get him back.

LYLA  
I know. We have to. But, first  
you are going to need a few things.

 

EXT. ALLEY - VERDANT

Captain Lance stands in the alley holding a large cardboard  
box in one hand.

OLIVER  
Captain Lance.

LANCE  
It's been a long time, Queen.

OLIVER  
Lyla said you had something for me.

Lance, lifts the box and places it down on a nearby garbage  
can.

LANCE  
I figured you're gonna need this to  
get him back.

The box is worn, dusty, "EVIDENCE" marked across it. Oliver  
opens the lid and looks inside. The Arrow Suit along with  
the retractable bow and quiver of arrows.

OLIVER  
You could get in a lot of trouble  
for this.

LANCE (SCOFFS)  
Between the chaos of that virus  
attack last year, budget cuts, and  
understaffing at the police  
station, evidence going missing is  
a sad fact of life.  
(beat)  
Besides, Mr. Diggle is a good man.

Oliver picks up the bow, feels the weight of it in his hand.   
He sighs, he had forgotten, it feels so right.

OLIVER  
Thank you.

LANCE  
So, does this mean you're back for  
good? 

OLIVER  
No. Besides, Laurel and Thea seem  
to have things under control.

LANCE  
I seem to remember a man in a green  
hood standing on top of a van  
promising the people of this city  
he would never abandon them.  
(beat)  
Was that the truth...or was that  
for the cameras?

OLIVER  
The city is in safe hands, even if  
they're not mine. Other people  
have stepped up.

LANCE  
But they didn't make a promise, you  
did.

OLIVER  
I seem to remember you saying that  
the crime problems started when I  
came back to Starling City. So,  
what's changed?

LANCE  
When I said that I was hurt and  
angry about Sara, but I've had 5  
months to think about it. You and  
I are never going to be BFF's or  
anything but everything you've done  
to help the people of this city--  
(beat)  
The good outweighs the bad.

 

INT. FOUNDRY

Oliver walks in, holding the evidence box.

THEA  
Felicity and I have fleshed out a  
plan of attack for when we get  
there.

OLIVER (RELUCTANT)  
Thea...

THEA (HEATED)  
Ollie. I'm coming. Mr. Diggle is  
my friend too and I am going to  
help get him back. I didn't ask  
for and I don't need your  
permission!

OLIVER  
Okay.

THEA  
Wait, what? Okay?

OLIVER  
If Digg trusted you to have his  
back in the field, that's good  
enough for me. And you're right,  
you've been here the last five  
months, doing just fine. If you  
want to come, that's your choice,  
you don't need my permission.

Off Thea's reaction.

THEA  
Who are you? And what have you  
done with my brother?

Oliver smiles, makes eye contact with Felicity.

THEA (CONT'D)  
Alright, well, I'm going to pack  
then, see you later.

Oliver nods. Felicity walks over as Thea leaves.

FELICITY  
So, what's in the box?

OLIVER  
My Arrow suit. My bow.

FELICITY  
I can't believe he snuck those out  
of evidence. 

OLIVER  
I kind of wish he hadn't.

FELICITY  
Why?

OLIVER  
Seeing them, brings back everything  
I walked away from. I'm not sure  
if I want them back. Putting this  
on again...it'd be like I'm wearing  
clothes that don't fit. This stuff  
belongs to someone else, someone I  
don't want in my life again. 

FELICITY  
It's just cloth and leather,  
putting that suit on isn't going to  
reverse who you've become. You're  
not the same person you were five  
years ago. You're not even the  
same person you were five months  
ago. No amount of green leather is  
going to erase that.

OLIVER  
Being back here, I can feel my old  
life trying to draw me back in. I  
don't want it.

FELICITY  
Oliver, when we thought you died, I  
quit the team because I wasn't sure  
if I could or wanted to do this  
without you. I didn't join for  
you, I stayed to help you in your  
crusade, but I returned for me.   
Because, I may not put a mask on  
and go out there and fight bad  
guys, but I do help save the city.   
In my small way, I make a  
difference. And that matters to  
me, that's important to me. I know  
you left because you didn't think  
that you could be Oliver Queen and  
the Arrow. I know that being the  
Arrow, you lost so much, sacrificed  
so much. But, you helped people,  
you saved people's lives, you did a  
lot of good for the people of this  
city. Maybe now it's your turn to  
decide if this is something that  
you can walk away from permanently  
or not. 

OLIVER  
And what if I decide that I don't  
want to go back to it? I can help  
the city without putting a mask on.

FELICITY  
I'll support you either way. But  
maybe it's not so black and white,  
maybe there's a third way. A way  
for you to be Oliver Queen and save  
the city, maybe not as the Arrow,  
maybe as something else. I don't  
know. You've changed and the suit  
can change with you. The point is  
you get to decide, on your own  
terms, what that looks like.


	4. Act Four

EXT. AIRPORT, BIALYA - DAY

Lyla, Oliver, Felicity, and Thea stand in front of a  
terminal. Lyla sends a text message.

LYLA  
As soon as we get checked in, I'll  
get in touch with Gomez. Johnny  
would have contacted him when he  
got here.

OLIVER  
Who is that?

LYLA  
He was a soldier, toured with us in  
Afghanistan. He's not a good guy.   
But, he's the kind of guy who knows  
things. Especially of the criminal  
variety. If anyone knows where  
John is, it's him. And he probably  
can hook us up with some  
firepower...for a price.

Lyla, Felicity and Oliver glance over at Thea.

THEA (EYEROLL)  
Don't worry about it, I got you  
covered.

 

INT. BIALYA - HOLDING CELL

Diggle sits at a simple table, restrained. The room is dark,  
bare. A MAN, early 50's, enters the room.

GRAYSON  
John Diggle, Mark Grayson, it's a  
pleasure to meet you finally.  
(shakes his head)  
You look like your brother.

Diggle starts, pulling at his restraints.

DIGGLE  
What do you want?

GRAYSON  
I should be asking you that  
question.   
You're the one who broke in.   
You've been quite busy, getting  
into our business.

DIGGLE  
Who do you work for?

GRAYSON (SMILES, IGNORES HIM)  
You took something from our files.   
Where is it?

DIGGLE  
I don't know what you are talking  
about.

GRAYSON (SMALL LAUGH)  
Let's not play this game, where is  
the thumb drive? We searched you  
and we couldn't find it. We know  
it's in the building somewhere.   
Tell me where it is. And you can  
go home to your wife.

DIGGLE  
I don't know what you're talking  
about.

GRAYSON (SOBERING)  
You served three tours, I'm sure  
you learned how to withstand  
interrogation techniques. But, the  
thing is--and you know this.   
Eventually, everyone talks. It's  
human nature. I don't want to hurt  
you, Mr. Diggle. But, I will. I  
will break you down, until you  
don't exist. And you will tell me  
what you know. All I need is time.   
No one knows where you are. We  
found that tracker by the way. No  
one's coming for you. So, I will  
get the answers that I need.

DIGGLE (ANGRY)  
You can go to hell.

GRAYSON (CALMLY)  
And if that doesn't work, I can pay  
a visit to Starling City. How old  
is little Sara, she's almost one,  
right?

Diggle struggles against the restraints in impotent rage.   
Grayson stands up, and turns towards the door.

GRAYSON (CONT'D)  
But we can talk about that later.   
We've got plenty of time to get to  
know each other.

 

INT. HOTEL ROOM, BIALYA - LATER

A knock on the door, Oliver opens it, Gomez is on the other  
side. Oliver grabs him, roughly pats him down and removes a  
concealed gun. Gomez surveys the group while making a show  
of straightening his suit.

GOMEZ  
Your friends a little grabby, Lyla.  
(beat, gives Oliver a  
wink)  
Not that I'm complaining.

Off Oliver's reaction.

LYLA   
He's just being cautious, not  
really sure what your affiliations  
are these days, considering they're  
for sale.

GOMEZ  
Come, Lyla. Let's be friends  
again.

LYLA  
We were never friends, Gomez. I'm  
not friends with mercenaries.

GOMEZ  
Mercenary is such an ugly word.

LYLA  
I'm sorry, would you rather be  
called a gun for hire or a thug?

GOMEZ  
I haven't been that for a long time  
now.

LYLA  
No, now you are just an arms  
dealer, selling stolen weapons to  
the highest bidder.

GOMEZ (SHRUGGING)  
Well, a man's got make a living.

OLIVER (STEERING THE CONVERSATION  
BACK)  
John Diggle. Did he contact you?

GOMEZ (SOBERING)  
Yes, I saw him. he was asking  
questions about some HIVE black  
site. I told him about files they  
kept there, about his brother. I  
helped get him guns, ammunition. I  
believe he was going to break in.

OLIVER  
What do your contacts say? Is he  
there?

GOMEZ  
Yes. He's being held in the  
basement. There are cells where  
they hold prisoners  
(beat)  
For tor--information gathering.

Off Lyla's reaction.

OLIVER (ANGRY)  
Are you the reason they found him?

GOMEZ (NOT DENYING IT, SCOFFING)  
You come here, you tourists. But,  
I - I live here, I make my living  
here. You think I'd be allowed to  
do what I do without someone's say  
so?

Oliver advances on him but Gomez is not intimidated.

GOMEZ (CONT'D)  
I didn't need to say anything.   
They knew he was here the minute he  
set foot off the plane. The same  
way they know you're here.

OLIVER  
And you told him about files? You  
actually expect me to believe that  
there are actual files, why  
wouldn't it just be on a computer?

GOMEZ  
Everyone wants to put everything  
online now, in the cloud. It's much  
harder to physically break into a  
heavily armed compound.   
The internet is an open book. Just  
ask your Miss Smoak.

Off Oliver and Felicity's Reaction.

FELICITY  
How did you?!

GOMEZ (SMILING)  
I make it a point to know about  
interesting people.

FELICITY (TO OLIVER)  
Even though he is seriously  
creeping me out right now, he's not  
entirely wrong about that.

LYLA  
Tell us everything.   
(beat)  
And we're going to need weapons,  
ammo...

GOMEZ (LOOKING AT THEA AND OLIVER)  
Arrows?

Off Oliver and Thea's reaction. Gomez smiles, suspicions  
confirmed.

GOMEZ (CONT'D)  
I can get anything you need...

 

FLASHBACK - EXT. WHARF, COAST CITY - DAY

Oliver sits on a bench, overlooking the rundown wharf, he's  
lost in thought.

YOUNG MAN (O.S.)  
You didn't give me a chance to say  
thanks.

Oliver slowly comes back to the moment. The young man  
approaches, sits down next to him on the bench.

YOUNG MAN (CONT'D)  
You're not from around here.

OLIVER (WARY)  
No.

They sit in silence a moment, looking at the abandoned  
buildings in front of them.

YOUNG MAN  
Man, when I was a kid, I used to  
come down here all the time. This  
place was something back then. All  
those buildings had tenants, fish  
mongers, sailors, tourists, people  
would come here and shop and eat.   
This place was busy, full of life.

OLIVER  
What happened?

YOUNG MAN  
Times change. Dock didn't.   
Business went downhill, most of the  
people left. Can't blame 'em  
really.  
(beat)  
Still a few holdouts, barely  
scraping by. A year ago, a big  
development company came in and  
started buying people out. They're  
going to "gentrify" the  
neighborhood. Tear down everything  
and build mixed use property,  
retail and condos for the wealthy  
professional who wants the urban  
lifestyle. 

OLIVER  
That doesn't sound so bad.

YOUNG MAN  
Well, if you're rich it's not.   
Most of the folks around here won't  
be able to afford any of it.

OLIVER  
Why are you telling me this?

YOUNG MAN  
A month ago, two men in suits come  
in and offer Tina a fat check if  
she sells. This bar and the people  
here are all she has, she says no.   
So, a couple weeks later, two other  
men show up with bats. Those men,  
in the bar. They work for that  
company, Grayson Properties. Sell  
or else.

OLIVER  
Why don't you just tell the police?

YOUNG MAN  
Right, cuz they're gonna believe us  
over some of the most wealthy and  
influential men in the city. You  
don't think we tried that? They've  
got city council members and police  
in they're back pocket.

OLIVER (MENACING)  
Maybe someone should take a bat to  
them, send a message.

YOUNG MAN  
What? Wow, that's dark!

Off Oliver's reaction.

OLIVER  
It's just been my experience that  
some people can't be reasoned with,  
they only respond to violence.

Off the Young Man's reaction. Who is this guy?

YOUNG MAN  
No, that's not the answer. Going  
vigilante isn't the answer, then  
we're no better than the criminals  
we're trying to stop. No, we need  
to fight this the right way, we  
need to use the system, fight them  
from the inside. 

OLIVER (DOUBTFUL)  
You really believe that?

YOUNG MAN  
Yeah. I do.

 

EXT. BIALYA - STREET, NIGHT

Oliver, Thea, and Lyla approach the rear of the building.

OLIVER  
We're going to need you to disarm  
the alarm, Felicity.

FELICITY (O.S., UNDER HER BREATH)  
This isn't my first rodeo.

OLIVER  
I heard that.

THEA (SMIRKING)  
I know you must be a little rusty,  
since you've been in retirement the  
last five months. So, just try to  
keep up, Ollie.

OLIVER (SCOFFS)  
Excuse me? Five months and  
suddenly you're an expert?

THEA  
I could run circles around you.   
Just like when we were kids.

OLIVER (SARCASTIC)  
Really? You think so?

THEA  
Care to make it interesting? I  
bet, I can bag more guys in there  
than you.

Lyla preps to open the door forcibly.

OLIVER (SURPRISED)  
You're not going to kill anyone...

THEA  
No! Just (beat) incapacitate.   
Winner gets bragging rights?

OLIVER   
Thea, this isn't a game. We're  
here to help rescue Digg.

THEA  
I know! And it's okay...if you  
don't think you're up for it.

Lyla gets the door open, placing an electronic device on the  
alarm. It blinks red, then green and the alarm display  
powers down.

FELICITY (O.S.)  
You have ten minutes before the  
system reboots.

LYLA  
We clear the main level and then  
we'll split up, search the cells.

Oliver and Thea nod, silently they advance. The place looks  
deserted. Oliver turns just in time to see a man emerge from  
the darkness, gun trained on Thea. THWICKT!   
He shoots an arrow into the man's shoulder and he goes down  
groaning. Thea quickly looks back at the man and then at  
Oliver.

OLIVER (SMIRKING)  
One.

Challenge accepted.

THEA  
Oh, it's so on.

And then it is. Men suddenly appear from everywhere and it's  
a brawl.

Lyla slides across a desk tipping it to create a barricade to  
hide behind, emerging every so often to get shots off. 

LYLA  
They knew we were coming! I hate  
when Gomez is right.

Oliver and Thea are fighting a group of men, back to back,  
switching positions, ducking and weaving as they throw  
punches and let arrows fly in all directions.

OLIVER (AS ANOTHER MAN GOES DOWN)  
Twelve.

THEA  
Hey, I had that guy! Eight.

Oliver slams his bow into the face of one of the men, and  
turns to find another man behind him. Before he can react,  
the man falls to the ground and Oliver turns to his right we  
PAN ACROSS the bow to Thea. She grins at him.

THEA (CONT'D)  
Eleven.

They've cleared the room, and the three run to the stairwell,  
rounding a corner. Lyla ducks just in time to avoid a bullet  
whizzing by. Thea jumps/slides over the railing, letting an  
arrow fly.

They continue to fight their way down to the basement, the  
only sound we hear are grunts and the ever higher number  
counting contest between Oliver and Thea.

LYLA  
I'm really glad you guys are having  
a good time, but can you two focus?

THEA  
We are focused. Fifteen.

Each of them are opening cell doors, looking inside for  
Diggle. Finally, Lyla opens one and we see Digg in the bare  
cell, bruised and beaten.

LYLA  
Johnny!

She runs to him.

DIGGLE (DISORIENTED)  
Lyla? Are you really here?

Cradling his face in her hands.

LYLA  
I'll always come for you.

FELICITY (O.S.)  
You guys need to get out of there,  
I'm seeing several vehicles  
converging on your location.

LYLA  
Can you walk?

Digg nods. She helps him up just as Oliver appears.

OLIVER  
Is he okay?

Lyla nods and he puts Diggle's other arm around him as they  
half carry, half walk him out of there. As they head for the  
rear exit...

DIGGLE  
Wait, stop. We have to go back!

OLIVER  
We can't!

DIGGLE  
There's something I need to get.

OLIVER  
Tell me.

DIGGLE  
3rd floor I dropped something a  
thumb drive--I dropped it when they  
hit me.

OLIVER (TO LYLA)  
I'll get it, just get him out of  
here.

Oliver heads up the stairs, Thea behind him. On the third  
floor landing he searches for the thumb drive. As he  
straightens, he sees Thea being held at gunpoint by one of  
the armed men. Oliver raises his bow.

ARMED MAN  
Drop it!

A beat, sibling unspoken communication and at a slight nod  
from Oliver, Thea ducks, hitting the man just as Oliver lets  
an arrow fly.

OLIVER  
Twenty.

Extending a hand towards Thea, he helps her up.

OLIVER (SMUG) (CONT'D)  
I win.


	5. Act Five

INT. VERDANT - DAY

Thea is at the bar, looking over papers, the television is on  
in the background as the news broadcast comes on, a picture  
of Ray Palmer appears with the words MISSING CEO.

TV ANCHOR (V.O.)  
Palmer Technologies CEO, Ray  
Palmer, who went missing five  
months ago...

Felicity walks in with Oliver

OLIVER  
Hey, Speedy. Is Diggle downstairs?

THEA  
Yep.

As they head for the door to the basement, Felicity sees the  
broadcast and stops. Oliver and Felicity exchange a look,  
and Oliver continues to head downstairs. Thea and Felicity  
watch the broadcast.

TV ANCHOR (V.O.)  
...Even though an interim CEO had  
been appointed, the board of  
directors are meeting this week to  
begin the search for a new leader.   
Mr. Palmer has been missing since  
an explosion rocked the  
headquarters of Palmer  
Technologies, but no body was  
recovered at the scene and no one  
can confirm whether the billionaire  
was in the building at the time.

FELICITY (WORRIED)  
Has there been any news about Ray?

THEA  
No, it's so weird. It's like he  
just vanished into thin air. That  
reminds me, this came for you.

Thea hands Felicity a large fat envelope.

FELICITY  
Huh, Palmer Technologies? This  
must be my severance package. But  
why did you get it?

She tears the seal, and pulls out a fat sheaf of papers.

THEA  
I don't know. Do they always hand  
deliver severance packages?

Felicity exclaims.

FELICITY (GULPS)  
Oh! This is NOT a copy of my  
severance paperwork! 

THEA (CONCERNED)  
What are you talking about?

FELICITY (BABBLING)  
I mean, I remember signing papers,  
but I didn't really look at them.   
Which in hindsight was not very  
smart, and something Oliver would  
totally do...

THEA  
Felicity! You're not making any  
sense?

FELICITY  
There was so much going on...what  
were you thinking, Ray? This is  
crazy!

THEA  
Hey! Take a breath. What's going  
on?

FELICITY (SHOCK)  
These are ownership papers! Ray  
transferred all of his shares of  
the company over to me.

Thea stares at her, still not comprehending.

FELICITY (CONT'D)  
According to these papers, I'm the  
new CEO of Palmer Technologies!

Off Thea's reaction.

 

INT. FOUNDRY

Diggle intently watches the computer monitor which is running  
a program. The bruises and cuts are bandaged now.

OLIVER  
Has Felicity's decryption program  
finished?

DIGGLE  
Not yet. She said it's going to  
take a while.

OLIVER  
I don't think staring at the  
monitors is going to speed things  
up.

DIGGLE (FRUSTRATED)  
I just want some answers. So many  
dead ends and we finally catch a  
break. I just want to know why my  
brother is gone.

OLIVER  
And you will. Felicity's program  
will decrypt that thing and we'll  
see what's on it. 

DIGGLE  
Whatever it is, it must be pretty  
important for them to torture me to  
find out where it was.

OLIVER  
How are you feeling?

DIGGLE  
Like a truck hit me, but I'll live.  
(beat)  
Look, I just want to say thank you.   
For coming when Lyla called and for  
helping her get me out.

OLIVER  
Of course. I'll always have your  
back.

DIGGLE (STERN)  
But this doesn't change anything,  
between us. We're not friends.

A gut punch. The moment Oliver knew was coming. It's time  
to own up, take responsibility and lay it all on the line, if  
he's going to salvage this friendship. A first step.

OLIVER (SADLY)   
I know. What I did was...  
(sighs)  
I'm sorry. I lost one brother  
because of the lies that I told,  
and I don't want to lose another.   
I know what I did was unforgivable,  
but I'm not gonna give up trying to  
prove to you that I'm worthy of  
your trust...and your friendship.   
No matter how long it takes.

THEA (O.S.)  
Does that mean you're staying?

The moment is broken. Oliver smiles and nods at Thea.

THEA (CONT'D)  
Well, I guess you better suit up  
big brother, because we have work  
to do.

Oliver looks at Diggle, waiting for his permission. Diggle  
nods.

 

INT. FOUNDRY - LATER

Felicity is back at the computers, when Oliver enters in the  
Arrow suit, but it's not the same, it's been modified.

FELICITY  
Oh. WOW. I forgot how hot you  
looked in that.

Oliver grins.

OLIVER  
Good to know.

He walks up to her, puts his arms around her.

FELICITY  
Are you sure you're ready to go  
back out there?

OLIVER  
You were right.

Off Felicity's reaction.

OLIVER (CONT'D)  
Again. It's time to come home.   
And maybe it can be different  
because I'm different. When I was  
on that mission to rescue Digg with  
Thea, I don't know. It was kind of-

FELICITY  
Fun?

OLIVER  
Is that weird? It felt good. It  
made me think that there's a way I  
can do this and hang on to me. I  
don't know if that's possible, but  
I want to try. 

FELICITY  
Then, let's get to work.

 

EXT. STARLING CITY - STREET, NIGHT

Two homeless men, sit underneath an overpass, one holds a  
bag, a bottle of alcohol concealed inside. A car comes  
screeching into view followed by a motorcycle with Speedy  
riding in pursuit. The man with the bottle looks up and sees  
the ARROW running across a nearby rooftop.

HOMELESS MAN #1  
Hey! Did you see that?

HOMELESS MAN #2  
What?

HOMELESS MAN #1  
I just the saw the Arrow.

HOMELESS MAN #2  
Big deal so you saw the Red one. 

HOMELESS MAN #1  
NO! Not the Red one, the Green  
Arrow.

HOMELESS MAN #2 (SCOFFS)  
You're drunk! He's dead remember  
genius!

 

FLASHBACK - EXT. WHARF, COAST CITY

Oliver and the Young Man are still seated at the bench. The  
Young Man checks his watch, stands up.

YOUNG MAN  
So, you sticking around or what?

OLIVER (ADRIFT)  
I don't know.

YOUNG MAN  
You got a place to stay?

OLIVER  
Not yet.

YOUNG MAN  
You got a job?

OLIVER (SHRUGGING)  
No.

YOUNG MAN (INCREDULOUS)  
You got any skills?

OLIVER  
No, I don't know. I worked on a  
boat with my dad when I was a kid.   
I fixed a radio once.

YOUNG MAN (SIGHS)  
Look, my mechanic quit on me  
yesterday. Come to this address.

The young man pulls a card out of his wallet, scribbles on  
the back of it.

YOUNG MAN (CONT'D)  
Tomorrow morning 8am, don't be  
late. I'll hook you up with a job,  
then we'll work on a place to stay.

OLIVER  
Why are you helping me? You don't  
even know me.

YOUNG MAN  
You had my back when those guys  
were beating the crap out of me,  
you didn't have to get involved.   
That's all I need to know. But  
you're right, I don't even know  
your name.

OLIVER (SMILES)  
My name's...Tommy...Dearden.

The Young Man extends his hand and they shake.

YOUNG MAN  
Nice to meet you Tommy Dearden.   
Hal Jordan.

Arrow Logo.


End file.
